Home Course Outline Links Music Theory 2312 Composition Assignment: Theme & Variations
Twinkle Variations Compose a set of Theme and Variations In addition to your theme, compose 5 variations. Strive to make each variation distinctly different and musically interesting. See the Theme & Variations Rubric for grading criteria.
Print
the Theme & Variations
Checklist before turning in your composition. ____________________________________________________________
PROCEDURE | | Choose a theme. The melody should be a well-known tune (like "Pop Goes the Weasel"),
at least 8 measures long. Do not choose a complicated
or a long song. Simple songs lend themselves better to variation. It is to your advantage to choose a song I know.
If you happen to change your song, clear the title with me before
proceeding! | | Plan and list your "Variation strategy" - how you will handle each element in the 6 sections of your piece (including the statement of the theme). Elements will include harmonic progressions, mode, melody, rhythm, meter, accompaniment patterns, style, etc. | | Score your theme with its accompaniment first. Make sure that your theme can stand alone
as a reasonable composition, but that it is straight-forward. End your theme with a double bar (not a final double bar).
| | Use patterns for accompaniments and countermelodies. Think in a linear direction, as well as vertically. Play these parts separately and make sure they don't sound "random." This can happen when your only concern is consonant harmony. | | Don't forget to double-check voice-leading, part-writing, and harmonic progressions.
Print out the
Checklist and check off your requirements. | | Rename your Finale file: YourNameVariations.musx | | DO NOT turn in your composition in more than one Finale File. Part of your grade is based upon the formatting of your composition. Check the Finale page for instructions. | REQUIREMENTS | | Do not write your piece in the key of "C"
or in A minor. | | The theme of your composition does not have to be stripped down and boring in order to vary it. It just has to be straight-forward so variations of it will be obvious. It must have its own accompaniment. Each segment (your theme and then 5 more variations) should be able to stand alone as its own "mini" composition.
| | Make sure you supply sufficient harmonic material in every variation.
Variations that can be played with 2 fingers probably need more work.
Do not use
2-part counterpoint for one of your variations. Any variation that has any part cut and pasted from another needs to be
revised. |
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Avoid closed harmony in the bass clef when more than an octave below the melody line in treble clef.
| | One variation should contain chromatic harmonies (refer back to your notes from the first half of the semester).
Label that variation as chromatic and provide a harmonic analysis (Roman numerals) of ALL chords in that variation
only. Inserting a few random accidentals does not constitute a chromatic variation.
Use one of each of the following: secondary chord, augmented 6th
chord, borrowed chord, Neapolitan 6th chord, altered dominant chord. |
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One variation should be written in a Classical style. Label that variation as Classical.
For many examples, listen to the Mozart variations linked here: Mozart, 12 Variations in C major on "Ah, vous dirai-je, Maman" (Twinkle Variations)
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One variation should be written in a recognizable style of your choosing
(Baroque, country, blues, jazz, rock, Barbershop, Celtic, Calypso,
atonal, Impressionistic, bebop, salsa, or any other style that is
recognizable)
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Correct voice-leading and part-writing rules must be observed
in appropriate styles (e.g., no parallel chords, doubled leading tones within a chord, etc.)
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Arrange your variations in
program order for the highest level of contrast and end with your
best one |
FORMATTING | |
The entire composition must be notated on Finale (no exceptions). Part of your grade will be based on the appearance of your score.
| | Include a title, yourself as composer, tempo indication, and dynamics | |
Begin each of your variations on a new line. Go to the Finale page for instructions on how to start a new line for each variation.
| | Label your theme as "Theme" and each variation as "Variation 1", "Variation 2", etc.
Label the required variations as Variation 2 (or whatever number): Chromatic
Harmony or Variation 3: Classical, etc. |
For inspiration, listen to the audio files provided below: Mozart, 12 Variations in C major on "Ah, vous dirai-je, Maman" (Twinkle Variations) Beethoven, 7 Variations in C major on "God Save the King" Beethoven, 6 Easy Variations in G
Variation Techniques |
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Change the rhythm. Make some notes longer and some shorter. |
| Change the mode. If in minor, change to major; if in major, change to minor.
However, do not just flat the 3rd scale degree and use your exact theme
material. Make it sound different in other ways as well. |
| Change the meter. 4/4 could be changed to 3/4 or 6/8, for example.
You can even consider 5/4 or 7/8 for contrast. |
| If there are skips in the tune, fill them in with passing tones or other decorative pitches. Give it an improvisatory feel. |
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If a variation sounds light, make the
next one heavy; if one sounds calm, make the next one frantic.
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| Add a countermelody. |
| Change the harmonic progression. |
| Make the music sound as if it comes from a different place. For example, adding a drone might make it sound Scottish or Indian, using a pentatonic scale can sound like the far east. |
| Add an ostinato or a riff. |
| Treat the melody contrapuntally or like a round. |
| Change styles. For example, make your variation sound like a march or a waltz. |
Theme and Variations RubricInformation below the letter grades describes compositions which will receive that grade. | A | B | C | D | F | Assignment requirements (see course outline) | All requirements met | Minor assignment infractions |
Several assignment infractions |
Major assignment infractions |
Unacceptable adherence to assignment requirements | Creative elements | Variations distinctly different and multiple variation techniques are utilized proficiently | Several variation techniques utilized to distinguish each variation from theme |
A few techniques utilized to distinguish each variation
from theme | Variations similar to theme with only minor changes | Variations sound very similar to theme or its derivation from theme is imperceptible | Voice-leading and part-writing | Correct voice-leading and part-writing
or other mechanics associated with chosen style | Minimal voice-leading and/or part-writing errors
or other mechanics associated with chosen style | Several voice-leading and/or part-writing errors
or other mechanics associated with chosen style | Multiple voice-leading and/or part-writing errors
or other mechanics associated with chosen style | Total lack of attention to voice-leading and/or part-writing
or other mechanics associated with chosen style | Harmony | Appropriate and accurate harmonic material | Minimal errors in harmonic material | Multiple errors in harmonic material | Dissonant or nonfunctional harmony consistently used inappropriately | No attention to harmonic element | Finale formatting | Correct and complete formatting | A minimum of formatting errors |
Some formatting errors | Many formatting errors | Unacceptable formatting |
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